Jo Spence (1934–92) had a highly politicised approach to photography, creating photographs that run counter to the idealised imagery offered by advertising. Spence often worked collaboratively and sought alternative distribution models, laminating work for durability and renting out her photography to conferences, libraries, universities and public spaces to broaden its audience. She also documented her own struggles with cancer.
‘Putting Myself in the Picture’ (Camden Press 1986) brought together her raw and confessional works to inspire a younger generation of photographers.
Remodelling Photo History (1982) a series of self-portraits in collaboration with Terry Dennett. The work consists of a series of diptychs where two photographs of Spence are juxtaposed. In some pairs, the first is a parody of a more traditional pictorial image; the second shot is less conventionally framed and the irony is articulated with less subtlety.
‘Victimisation’ “Here we see that the estate will not admit trespass, and that it stands in for the heroic (male) defender of the ground, repelling weak opposition at its border. Jo Spence failed to cross the barrier, allowing the absent landowner (through his gate and sign) to become hero, male, the creator of difference… her mockery diminishes the victory won by the landowner.” (John Taylor 1994, p.282 quoted Alexander p133)